MBFA

Resnick’s paintings of the late fifties and early sixties, such as the present work, are from the height of his career. This period marks the artist abandoning representation for complete gestural abstraction, yielding a personal version of Abstract Expressionism similar to yet different from the work of Pollock, de Kooning, Hofmann and Rothko. Resnick’s “all-over” painterly canvases adhere to the dominant tendency of Abstract Expressionism. Yet what makes his work unique and his compositions harmonious is the convergence of seemingly- random yet deliberate short and loose, thick and long brushstrokes of color fluttering and quivering across the top layer of the surface.